标签为 “Sound” 的文章

  • The Best of London's September Exhibitions – 伦 …

    2018.10.21 · 发表评论

    As the summer comes to a close, we shuffle back indoors to replenish in the soothing shadows; switch on the neon lights and/or projectors, print out press releases, and settle in for a new season of shows. – 夏天快要结束了,我们拖着脚步回到室内,在柔和的阴影中补充能量;打开霓虹灯和/或投影仪,打印新闻稿,安顿下来迎接新一季的节目。

  • “我们奇怪地习惯于要求艺术家消掉他们的声音”

    2018.10.20 · 发表评论

    “奇怪的日子”——180街展览的题目——纽约新博物馆和X店乙烯工厂的合作——可以参考凯瑟琳·毕格罗开创的、令人难堪的1995年科幻惊悚片

  • 独自一人:互联网的超链接结构如何塑造我们的情感生活

    2018.10.19 · 发表评论

    “互联网也不是一个坏主意,但它确实具有毒性作用”“Facebook的工作”她指出,“不仅仅是给你信息,而是让你保持在那儿,处于一种积极的瘫痪状态。”

  • One Take: Luke Willis Thompson ‘_Human’ – 一个拍摄: …

    2018.10.19 · 发表评论

    The final line of Frantz Fanon’s impassioned anti-colonial book, Peau noire, masques blancs (Black Skin, White Masks, 1952), is rendered, in English, as follows: ‘O my body, make of me always a man who questions!’ 1 Published in the same year that the term Third World was coined by anthropologist Alfred Sauvy, Fanon’s closing prayer forged a new link between anatomy and the destiny of those that Europe colonized, whose bodies were trafficked into bondage. Routing a sense of corporeal novelty through his own vexed identification with manhood, Fanon’s prayer undermines any attempt to privilege normative masculinity. In asking his body to make of him ‘a man who questions’, Fanon sets himself in opposition to the colonial father who expects a body to mutely follow. As we continue to reckon with the malignant colour-coded hierarchies that we have inherited from slavery and colonialism, so Fanon’s declaration echoes. His term for this legacy’s lingering presence upon the body, ‘a racial epidermal schema’ 2, remains a crucial theoretical phrase for working through our own era, one in which, as cultural theorist Paul Gilroy notes: ‘screens rather than lenses now mediate the pursuit of bodily truths.’ 3 – 弗朗茨·法农充满激情的反殖民主义著作《黑色的珠儿,白色的面具》(黑皮肤,白色的面具,1952)的最后一行用英语写道:“我的身体,让我永远成为一个有问题的人!”同年,人类学家阿尔弗雷德·索维(Alfred Sauvy)创造了“第三世界”这个术语,法农的闭幕式祈祷在解剖学与欧洲殖民者的命运之间建立了新的联系,欧洲殖民者的尸体被贩卖成奴隶。范农的祈祷通过自己对男性身份的烦恼认同,消除了肉体上的新奇感,削弱了任何赋予男性规范特权的企图。在要求他的身体使他成为一个“有问题的人”时,法农把自己置于殖民地父亲的对立中,他希望一个身体默默地跟随他。当我们继续考虑我们从奴隶制和殖民主义中继承下来的恶性的颜色编码等级制度时,范农的宣言引起了共鸣。他对这种遗留物在身体上挥之不去的存在“种族表皮图式”2,仍然是贯穿我们这个时代的关键理论用语,正如文化理论家保罗·吉尔罗伊指出的那样,在这个理论用语中,“屏幕,而不是镜头,现在调解了对身体真理的追求。”

  • The Black Female Figure – 黑人女性形象

    2018.10.19 · 发表评论

    In 1864, the renowned abolitionist stronghold of Boston no doubt seemed the perfect place for Mary Edmonia Lewis to regroup after her trial in Oberlin, Ohio, and veritable expulsion from college. The community that boasted the first co-educational and racially inclusive school had failed to protect her from the prolific racism that permeated the US. Yet, the little we know of this eminent 19th-century sculptor demonstrates that Lewis was nothing if not resilient.  – 1864年,波士顿著名的废奴主义据点无疑是玛丽·爱德蒙娜·刘易斯在俄亥俄州奥伯林受审并被逐出大学后重新集结的理想地方。自诩为第一所男女同校、种族包容的学校的社区未能保护她免受遍及美国的多产种族主义的侵害。然而,我们对这位杰出的19世纪雕塑家所知甚少,说明Lewis是一个没有弹性的人。

  • Eye in the Sky: What a Surveillance Blimp in Amish Country …

    2018.10.19 · 发表评论

    On 28 October 2015, a US military surveillance blimp rampaged across rural Pennsylvania after breaking its tether above Maryland  – 2015年10月28日,一艘美国军用侦察飞艇在马里兰州上空打破束缚,横扫宾夕法尼亚州的农村地区。

  • Highlights of the New Season Shows in New York – 纽 …

    2018.10.18 · 发表评论

    Karin Schneider, Sabotage, 2017, installation view CCA Wattis Institute, San Francisco. Courtesy: the artist – Karin Schneider,破坏,2017,安装视图CCA WATIS研究所,旧金山。礼貌:艺术家

  • A Guide to Brussels Gallery Weekend – 布鲁塞尔画廊周 …

    2018.10.18 · 发表评论

    ‘Wiggle’
    Galerie Greta Meert
    7 September – 20 OctoberUnfurling across Galerie Greta Meert’s three floors, ‘Wiggle’ showcases the work of 15 international artists who use sculpture to interrogate the notion of materiality beyond simple denotation. Donald Judd uses stacks and blocks to create non-referential works of art while Terry Adkins assembles locally found objects such as musical instruments and reintroduces them as resounding installations. Katinka Bock experiments with natural materials, using clay ceramic liquid and webbing to articulate thoughts on history and geography and on the other end of the spectrum, Diane Simpson’s work transfigures clothing, furniture and industrial architecture into sculptures that are an observation of the architectonic vs. the domestic. Countering painter Ad Reinhardt’s modernist joke that a sculpture is a thing that you ‘bump into while you back up to look at a painting’, the group show pushes back against convention, giving the form more leeway than tradition has previously allowed. – “摇摆”

  • What to See at DC Open and Okey-Dokey II – 在DC开放 …

    2018.10.18 · 发表评论

    Natalie Häusler, ‘Honey’
    KIT (Kunst im Tunnel), Düsseldorf
    23 June – 23 SeptemberAt KIT, an unused tunnel under the Rhine, Natalie Häusler makes use of the special spatial situation to create a kind of idyllic underwater garden. The central work is the 10-metre long Kneipp basin Bethsabée reste au bains ((Bathsheba at her Bath, 2018), whose outer tiles make up a text that can be read by walking round the basin several times. But the story can also be followed on headphones: the artist has rewritten the biblical story of Bathsheba and David to give the woman an active role in rejecting the horny voyeuristic King. Loving the motor-cycle (2017) also speaks of the difficulty of obsessions. Visitors sit on a stationary Honda racing bike listening to a kind of podcast in which Häusler and a friend talk about her friend’s young daughter who has a fascination with motorbikes, at the same time as being insanely scared of them. I won’t give away whether or not little Ada overcomes her fear. Suffice to say that even in the garden of desire, every rose has its thorn. – 娜塔利·H·苏斯勒:“亲爱的”